• Study Resource
  • Explore
    • Arts & Humanities
    • Business
    • Engineering & Technology
    • Foreign Language
    • History
    • Math
    • Science
    • Social Science

    Top subcategories

    • Advanced Math
    • Algebra
    • Basic Math
    • Calculus
    • Geometry
    • Linear Algebra
    • Pre-Algebra
    • Pre-Calculus
    • Statistics And Probability
    • Trigonometry
    • other →

    Top subcategories

    • Astronomy
    • Astrophysics
    • Biology
    • Chemistry
    • Earth Science
    • Environmental Science
    • Health Science
    • Physics
    • other →

    Top subcategories

    • Anthropology
    • Law
    • Political Science
    • Psychology
    • Sociology
    • other →

    Top subcategories

    • Accounting
    • Economics
    • Finance
    • Management
    • other →

    Top subcategories

    • Aerospace Engineering
    • Bioengineering
    • Chemical Engineering
    • Civil Engineering
    • Computer Science
    • Electrical Engineering
    • Industrial Engineering
    • Mechanical Engineering
    • Web Design
    • other →

    Top subcategories

    • Architecture
    • Communications
    • English
    • Gender Studies
    • Music
    • Performing Arts
    • Philosophy
    • Religious Studies
    • Writing
    • other →

    Top subcategories

    • Ancient History
    • European History
    • US History
    • World History
    • other →

    Top subcategories

    • Croatian
    • Czech
    • Finnish
    • Greek
    • Hindi
    • Japanese
    • Korean
    • Persian
    • Swedish
    • Turkish
    • other →
 
Profile Documents Logout
Upload
Musical Terms - Mrs. Serres Music Room
Musical Terms - Mrs. Serres Music Room

... because the final curl is around the second line or G pitched line. ...
document - Far Western District
document - Far Western District

... me to put together some slides/handouts for a Friday morning class in Reno (19 Mar 2004). The class was a HUGE success and everyone in attendance was amazed at just how simple and easy this whole “music theory” process is. As I demonstrated, you just take it one step at a time. I wish I had a videot ...
Presentation
Presentation

... – e.g. the set of harmonics generated when a particular key is pressed on a piano ...
about Barbershop style music.
about Barbershop style music.

... need to be accurate singers with a full, authoritative sound. All the rest of us match our harmony parts to the lead's melody. Most harmony singers hate to admit it, but the lead really IS the most important part - after all, it's the melody. The harmony part sung above the lead is the Tenor. Althou ...
Tonal Harmony Chapter 22 Augmented Sixth Chord
Tonal Harmony Chapter 22 Augmented Sixth Chord

... Like N6, the +6 originated in the minor mode, but it was soon found to be equally useful in major keys When used in major keys, it is often preceded by mode mixture ...
Article: Phrasing...Speaking in Musical Sentences.Blue Grass News
Article: Phrasing...Speaking in Musical Sentences.Blue Grass News

... prepared to create a convincing execution of the phrases. However, there is a fundamental difference between a craftsman and a musician. The musician produces sounds, which can be helpful in the analysis phase, so we should not become too bogged down with the analysis before playing a note. In fact, ...
Summary of Tonal Harmony - Leon Couch`s Course Listings
Summary of Tonal Harmony - Leon Couch`s Course Listings

... 1. All the rest of the non-chord tones are pt, nt, susp, with either the approach or the resolution disrupted. The only absolutely forbidden NCT is one with leaps on both sides of a dissonance; i.e., arpeggios must outline a chord. 2. The pedal point is considered dissonant by K&P while harmonies pr ...
PDF - UNT Digital Library
PDF - UNT Digital Library

... may, however, have a "root representative" which is the tone which proceeds by the smallest step to the root of the resolution interval. 7 Hindemith8 insists that the conventional theory of harmony is far too limited in its system for the determination and interpretation of chords. ...
Score ppt
Score ppt

... Harmony – simple diatonic mainly chords I and V7 Melody dominated Homophonic texture Strong quaver rhythm throughout (raindrops) LEGATO (smooth) CANTABILE (singable/songlike) Lots of RUBATO (stretched) throughout to add expression melody throughout ...
Document
Document

... MELODY IN A COMPOSITION INCLUDES 1. THE PROMINENT MELODIC LINES AND THE REPETION AND VARIATION OF THES MELODIC LINES THROUGHOUT THE COMPOSITION. 2. THE RANGE AND CONTOUR OF MELODIC MATERIAL. 3. THE PHRASE STRUCTURE OF THE MELODIC LINES. 4. THE SCALE BASIS FOR MELODIC MATERIALS. 5. THE RELATIONSHIP A ...
Note Reading Guide for VIOLA
Note Reading Guide for VIOLA

... Note Reading Guide for VIOLA A, B, C, D, E, F, G ...
Sample Grade 1 Theory Paper
Sample Grade 1 Theory Paper

... Circle five different mistakes in the following music, then write it out correctly. ...
Slide 1
Slide 1

... The main “job” of the bass player is to (almost always) play the root on the downbeat, then some other note(s). The bass can also help define whether the chord is a: • major (by playing a major 3rd) • minor (by playing a minor or flat 3rd) • dominant (by playing a dominant or flat 7th) You don’t wan ...
circular pitch space based chord analysis - Music
circular pitch space based chord analysis - Music

... Chord Analysis is an important task for music information retrieval (MIR). If the chords or the chord sequence of a musical piece are known you can accompany the song, you are able to compare musical pieces, you can search for different music or you can analyze the structure of it for higher order c ...
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg
Prolongation of Seventh Chords in Tonal Music, by Yosef Goldenberg

... the problematic status of the intervallic step between the chordal seventh and root, contravening triadic tonality’s clear systemic distinction between the roles of steps (voice leading) and skips/leaps (arpeggiation). Schenker’s normative view, of course, was that the seventh chord is not an indepe ...
music questions section i
music questions section i

... a. The quality of a pitch, interval, or chord that makes it seem a suitable point of rest or resolution What are the most consonant chords? a. Ones that stress the lower pitches of the overtone series What is a triton? a. A musical interval composed of three whole tones What is a diatonic? a. A chor ...
Chorus 1 Exam Review
Chorus 1 Exam Review

... CHORUS 1 EXAM REVIEW SEMESTER ONE ...
Appendix H Musical Concepts
Appendix H Musical Concepts

... Chords - Three or more pitches sounding simultaneously constitute a chord. Triad - A given tone together with the 3rd and 5th above it constitutes a specific kind of chord called a triad. A triad or other chord may be built on any degree of a scale. Additional thirds may be added to triads producing ...
ap® music theory syllabus
ap® music theory syllabus

... Analyze harmonic structure using Roman numerals and figured bass Realize figured bass and Roman numeral anaylsis in four-part voice leading Create musical compositions following guidelines in meter, form, phrase structure, key, chord progressions, modulations and non-harmonic tones Implement daily a ...
Comparison of Sonata IV by Biagio Marini and Trio
Comparison of Sonata IV by Biagio Marini and Trio

... It is amazing to consider the value of the resource left to us by composers such as Biagio Marini and Arcangelo Corelli, when viewed through the lens of history. The Baroque era was an exciting time in which musical ideas were changing and being challenged, and the diversity of work from that era is ...
Benward Chapter 3
Benward Chapter 3

... Chapter Three Pitch and the Keyboard ...
Secondary Functions 1 - Appoquinimink High School
Secondary Functions 1 - Appoquinimink High School

... #1. Is the altered chord a major triad or major-minor seventh chord? If not, than it is not a secondary dominant #2. Find the note a P5 below the root of the altered chord #3. Would a major or minor triad built on that note be a diatonic triad in this key? If so, the altered chord is a secondary dom ...
Music 231 Second Species Counterpoint, Two Parts
Music 231 Second Species Counterpoint, Two Parts

... the rules of cantus firmus and first species writing apply except: Because you have more notes, the melodic curve can be more complex A subsidiary climax or two is often planned ...
The Functional Tonal Musical System and its Mathematical
The Functional Tonal Musical System and its Mathematical

... melodically, Si – Do. One should also take into consideration the substantial force of the dominant, which is not alone, having a potential of at least five chords, with each chord built on the second, fourth, third, and seventh scale degrees, being a possible dominant for the chord residing on the ...
Musical Terms and Expressions Definitions
Musical Terms and Expressions Definitions

... Pizzicato - pluck strings instead of bowing Presto - very fast tempo or speed Recorder - an end-blown flute-like instrument that has a whistle mouthpiece, available in soprano, alto, tenor and bass. (The teacher told the students to play the recorder by blowing more softly.) Refrain - the melody of ...
< 1 ... 13 14 15 16 17 18 19 20 21 ... 24 >

Schenkerian analysis

Schenkerian analysis is a method of musical analysis of tonal music based on the theories of Heinrich Schenker (1868–1935). The goal of a Schenkerian analysis is to interpret the underlying structure of a tonal work and to help reading the score according to that structure. The theory's basic tenets can be viewed as a way of defining tonality in music. A Schenkerian analysis of a passage of music shows hierarchical relationships among its pitches, and draws conclusions about the structure of the passage from this hierarchy. The analysis makes use of a specialized symbolic form of musical notation that Schenker devised to demonstrate various techniques of elaboration. The most fundamental concept of Schenker's theory of tonality may be that of tonal space. The intervals between the notes of the tonic triad form a tonal space that is filled with passing and neighbour notes, producing new triads and new tonal spaces, open for further elaborations until the surface of the work (the score) is reached.Although Schenker himself usually presents his analyses in the generative direction, starting from the fundamental structure (Ursatz) to reach the score, the practice of Schenkerian analysis more often is reductive, starting from the score and showing how it can be reduced to its fundamental structure. The graph of the Ursatz is arrhythmic, as is a strict-counterpoint cantus firmus exercise. Even at intermediate levels of the reduction, rhythmic notation (open and closed noteheads, beams and flags) shows not rhythm but the hierarchical relationships between the pitch-events.Schenkerian analysis is subjective. There is no mechanical procedure involved and the analysis reflects the musical intuitions of the analyst. The analysis represents a way of hearing (and reading) a piece of music.
  • studyres.com © 2025
  • DMCA
  • Privacy
  • Terms
  • Report